THE NEW MUSEUM OF CONTEMPORARY ART, NEW YORK

ELEVENTH ANNIVERSARY 1988

THE NEW MUSEUM OF CONTEMPORARY ART SURVEY: OPEN ENDED RESPONSES*

Q.8. One thing liked most. ........ .

-shows contemp. art and artists from outside N. V.-not as commercial as other museums; new art, younger artists;

experimental works shown-you see things you can't see at other places; new emerging artists-they put on interesting shows by young artists; it's diversified and

daring in its approach-they are daring in their exhibitions-they put on daring work-I like to experience new art-a chance to see new art; it gives younger artists an opportunity to

show their art-it's livelier than most museums; it's contemporary; they show newthings

-an innovative spirit (2)-the physical space is good-the people are more my peers than other museums-interesting exhibitions; the viewing space in the lobby for work

that's on trial-group shows -library-they have work that no other museum will exhibit-important that it's there; a better cross section of art-helps emerging artists; features them before they are famous on

the gallery/museum scene-close by (2) -art shown-innovative art exhibits; lecture series; Art Quest program-its vitality-show art that is being produced now; opportunity for new artists-like shows/exhibitions-loves this kind of art-a lot of different work available; centrally created; location-an alternative showcase; shows work of living artists-interested in emerging artists-their support of contemporary artists-has a unique vision; looks toward what is important in

contemporary art rather than to what is popular or commercial-it's exciting; the museum makes me think-has unusual art; new art from young artists-more innovative art than other museums-like having it in the neighborhood-offers shows not available at others

Q.10. Why unique/different. ........ .

-place where new and unique art is shown and young artists are shown-type of shows they put on

THE NEW MUSEUM OF CONTEMPORARY ART ELEVENTH ANNIVERSARY

1988

The New Museum of Contemporary Art, NY 583 Broadway

New York, NY 10012 212/219-1355

Copyright @ 1988 The New Museum of Contemporary Art, New York All Rights Reserved ISBN 0-915557-63-0

DESIGN: Lynn Andreozzi/Ron Puhalski, Inc. EDITOR: Terrie Sultan PRINTING: C.T.F. print

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The New Museum of Contemporary Art

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HENRY LUCE Ill President

FROM THE PRESIDENT

MARCIA TUCKER Director

As a Living Painting tightened his fist around the sleeve of visitor Lori Knight's sweater, she tugged away from him and simultaneously screamed with fear that the very act of tugging would pull the sweater off. This scene, pictured in the Daily News, was one subject of the vast amount of media attention attracted by our Living Paintings exhibition. For centuries museologists, curators, teachers, and artists themelves have struggled with the challenge of how to bring art to life. It took our English friend, Stephen Taylor Woodrow, and The New Museum of Contemporary Art to hit on one remarkably simple solution to the problem: just bring life to art! After viewing the exhibition with my young cousin, I took her to lunch to reflect on the experience. Over and over again she kept repeating, "That is awesome; that is awesome."

If The Living Paintings had the strongest impact on the public, the Museum's eleventh year was a busy and successful one with a number of other major and minor, distinctive exhibitions. Last year's benefit art auction on the occasion of "DecaDance," the big celebration in the Puck Building, a block from the Museum, was such a huge success that we are doing it again. I look forward to seeing a greater number of the Museum's friends than ever before on April 25, 1988.

REPORT FROM THE DIRECTOR

In an audience survey conducted for us last year by the adventurous advertising agency Chiat Day, Inc. Advertising, we discovered some unsettling, even sobering facts. We hoped to find out who our audience was, and what they wanted; what they felt they got and didn't get, what they thought of us, and why.

We shouldn't have been surprised to discover that, as a former member put it, our biggest assets are also our liabilities. These are:

-that the work we show is out of the ordinary, challenging, often difficult-that our space is intimate (or "small for a museum," depending on how you see it!)-that we're located downtown, at the edge of So Ho, in a new area not yet clearly defined in terms of art-that the art shown at the Museum creates a specific, often unfamiliar experience for our viewers.This year we've had a similarly controversial group of programs. Many listed the Bruce Nauman

drawing exhibition as their favorite, but an equal number remarked that "it takes too long to look at all

those drawings." There were complaints that not enough work from Europe was being shown, and complaints that too much work from Europe was featured. Many found the presence of video and other "conceptual" forms of contemporary art hard to take; others came specifically for these offerings.

Some of this year's most controversial projects have been of particular interest to the media. Bruce Nauman's window, a video installation, prompted viewers to forcefully discuss their reactions before an WNBC television crew, complaining about how depressing it was to hear, while on their way home from work, "No, No, No, No!" coming from the window or rejoicing that "It's exactly how I feel!" And The Living Paintings, a two-week installation by British artist Stephen Taylor Woodrow, created an unprecedented media blitz for the Museum, appearing on major networks, local news stations, and on the front pages of newspapers across the country. Twenty-five hundred people came to see them in one day, many for the second or third time, which both delighted us and stretched our resources painfully. As one staff member remarked, "so this is what it's like to have a 'blockbuster!"'

The late Ana Mendieta's retrospective was both a sad and moving event for her friends and colleagues, and at th.e same time a much-needed reevaluation of a body of work which had been ignored or marginalized as "female body-oriented," or "feminist" during most of the artist's lifetime. And the panel discussion held during the exhibition, entitled 'The Great Goddess Debate: Spirituality versus Social Practice iri Recent Feminist Art," raised some of those same heated issues in a vastly different, contemporary feminist context.

At the same time, a window installation by ACT UP, an AIDS activist collaborative of over 1500 men and women, drew rave reviews from non-art press, reinforcing for us once again the importance of exploring, as a contemporary arts institution, those overlapping areas of concern between the art community and the community at large.

We also initiated Artists Projects after several years of heated discussion and planning. This year it consists of a series of greatly varied installations, situations, and events both inside and outside the Museum proper, part of a continuing investigation of unconventional ways in which our time, space, skills, and resources might be used by artists and even stretched to the absolute limits of the imagination.

Recently, at a panel held at The Museum of Modern Art, participants spoke about the ideal programs they wished the major American museu,ms_,would undertake; they longed for serious thematic exhibitions that spoke to broader cultural and aesthetic issues; they discussed the need for multicultural programming that doesn't address only a limited upper-middle class, homogeneous audience; they berated the lack of self-critical and critical attitudes within museums as institutions; they questioned a museum's ability to be both flexible and responsive to change and at the same time to remain financially secure.

Sitting in the audience with many of my colleagues from The New Museum, I realized that our own success might perhaps be best measured by the number of years it takes for the major issues we believe in and act upon to reach the mainstream.

Sometimes, of course, we feel a bit like the unwary guest who's first to arrive at dinner and wonders if it might not be the wrong day. It's reassuring when the rest of the party arrives.

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STATEMENT OF PURPOSE . . The New Museum of Contemporary Art is unlike any other museum in _New York City. Fo_unded in 1977, it is the city's only museum dedicated excl�sively to the a� and ideas of our own t1m�. !he Museum exhibits, interprets, and documents maJor work by '.3-�Ists who_ have devoted t�e1r _livesto innovation, experimentation, and excellen�e. !�rough exh1b1tIons, pu_blic programs, publ1cat1ons, education, research, slide review, and studio vIsIts, the Museun:i contmuc3:lly seeks to encour8:ge and promote the work of living artists. The Museum serves a �rnqu� function and �ole: to provide a forum for contemporary art, espe�ially 'A'.ork that _has received little or no _publ1� exposure or critical attention, or that might ot�erwIse be m_a�cE:ss1b_le to a broad-based audience, to sh

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THE LIBRARY Since its opening in early 1986, The Soho Center Library at The New Museum has provided free access to one of the country's most important collections of material on contemporary art. The only library in the United States devoted entirely to contemporary art and criticism, The Soho Center Library offers more than 10,000 volumes, including almost 3,000 monographs on individual artists, 3,000 catalogues of group exhibitions, and 700 works of contemporary art history, criticism, and theory. Additional material relates to photography, film, video, architecture, and design. The Library has runs of 476 art periodicals, more than 150 of which are current magazines from around the world, many not readily available elsewhere. The Library, generously donated by Larry Aldrich with additional collections given by the Broida Foundation, the McCrory Corporation, and many individuals, is a free nonlending resource center available to the public during weekday Museum hours. Appointments are preferred, but not necessary.

PUBLICATIONS Each major exhibition presented at The New Museum is accompanied by a richly documented catalogue with incisive essays by curators and invited contributors. Smaller exhibitions are augmented by brochures and educational flyers offering concise analyses of the work and its context. The Museum has published two books in an ongoing series, Documentary Sources in Contemporary Art, and has two additional books scheduled for publication and distribution. Art After Modernism: Rethinking Representation is an excellent resource of critical and theoretical writing with essays by such authors as Kathy Acker, Robert Hughes, Rosalind Krauss, and Donald Kuspit. It provides a summary of recent directions in criticism as well as an introduction to the developing critical groundwork of the last decades of the twentieth century. Blasted Allegories: An Anthology of Writings by Contemporary Artists is a collection of writings by artists from the past ten years, a mixture of voices and styles, all addressing the issues of image, culture, and identity. It is a critical investigation of postmodern society, free of the distancing effects of traditional art criticism. In works by artists Trinh T. Minh-ha, Carrie Mae Weems, Matt Mullican, John Baldessari, Edgar Heap-of-Birds and others, the reader is engaged in the pleasures and the self-implicating risks of writers who often use the shifting, multilayered technique of allegory in texts that bridge from the personal to the political, from individual feeling to mass phenomena.

Upcoming titles in the Museum's series are: Discourses: Conversations About Postmodern Culture, lively interviews and discussions with critics, artists, and theorists touching on such topics of current contention as the meaning of postmodernism, the relationship between high art and popular culture, the positive and negative implications of new technology, and the changing role of pedagogy and the institution; and The Ideology of the Margin (working title), co-edited by New Museum Librarian Russell Ferguson, Trinh T. Minh-ha, Cornel West, and Martha Gever.

SPECIAL ACTIVITIES GROUPS Two special activities groups provide participants with an inside view of the world of contemporary art and ideas with an emphasis on collecting. Art Quest is the Museum's collectors' forum, a lively and knowledgeable group of men and women dedicated to the understanding and support of contemporary art. Art Quest has a limited enrollment and requires a membership fee. Participants receive Sustaining membership in the Museum and benefits that include in-depth discussions with artists in their studios, private viewings of important and little-known collections, and studio tours of unaffiliated artists.

New Collectors is an innovative and involving program for art enthusiasts who want to see, learn about, and support contemporary art. Membership is open to men and women thirty-nine years of age or younger who are interested in all aspects of collecting works of .art. Dues for New Collectors provide participants Individual membership in the Museum and access to gallery talks, social events, panel discussions, exhibition previews, and more.

Dues for Art Quest and New Collectors are tax-deductible and include a donation to the Museum in support of exhibitions and public programs.

LIMITED EDITIONS The Museum's series of three-dimensional limited editions by major American artists is a distinctive special project, commissioned by The New Museum to benefit exhibitions and programs. Tilting Neon Cocktail, by Claes Oldenburg, launched the limited editions in 1984. Brooke Alexander published Oldenburg's piece, and has guided the series through Bruce Nauman's neon Double Poke in the � (1985); Donald Judd's aluminum wall relief, Untitled (1986); and Book, (1987), a formica-onwood pedestal piece by Richard Artschwager. This year the Museum offered Jenny Holzer's Truism Footstool, a granite bench carved with typical Holzer "truisms" such as "An elite is inevitable " and "Any surplus is immoral," published by Barbara Gladstone. These multiples and future editions of the project provide a mini-encyclopedic collection of works of art by some of the most important American artists of our time.

JENNY HOLZER Truism Footstool, 1988 Baltic Brown Granite

16" X 23" X 15¾" Edition of 40

Published by Barbara Gladstone to benefit The New Museum of Contemporary Art, NY New York

FOR FURTHER INFORMATION CONTACT HELEN CARR AT THE NEW MUSEUM OF CONTEMPORARY ART, NEW YORK, (212) 219-1222.

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CELEBRATION Each year The New Museum's Board of Trustees, the Activities Council, and the staff have worked together with the entire artists' community to help the Museum produce Celebration, a highly successful benefit dinner, dance, and art auction. Celebration provides approximately twenty-five percent of the funds needed by the Museum to support exhibitions and programs.

In 1987, during the tenth anniversary "DecaDance," the Museum introduced something new to the evening: a live auction of major artworks that, in conjunction with the silent auction, provided an evening of unparalleled excitement. The success of the silent and live auctions reaffirms the cooperation and dedication of the diverse group of artists and community members who support the Museum.

DecaDance, 1987_: (left to right) Lucille Kantor, Trustee Martin Kantor and Director Marcia Tucker.

DecaDance, 1987. Auctioneer Robert C. Woolley, Vice President of Sotheby's,

and honorary chairperson David Byrne.

SEMI-PERMANENT COLLECTION The Semi-Permanent Collection was established in 1979 to supplement the Museum's program of temporary exhibitions and to provide support for contemporary artists through the purchase and public exhibition of their works. In keeping with the policy of the Museum, the Collection is devoted exclusively to works in all media which have been created within a decade of their date of acquisition. The Collection, like the Museum's exhibitions, is intended to reflect the diversity and dynamism of contemporary art in order to best engage our audience in an artistic dialogue. Works are acquired through gifts and purchases made possible by the Museum's Accessions Committee. Priority is given to works that directly relate to the Museum's exhibitions and programs. Currently, the Collection numbers approximately 125 works representing a wide range of styles, conceptual approaches, and artistic practices. The Museum recently received a grant from the National Endowment for the Arts to purchase additional works for the Collection.

"Selections from the Semi-Permanent Collection ," the first exhibition of works from the Collection mounted by the Museum, was presented in early 1988. Works by Hans Haacke, John Hull, Louise Lawler, Sherrie Levine, Michael Lucero, Aimee Rankin, Rene Santos, Andres Serrano, Jan Staller, Hiroshi Sugimoto, and Jan Vercruysse offered Museum audiences the opportunity to see an important segment of the Museum's holdings. The Museum plans to mount additional exhibitions from the Collection in the future.

Rene Santos, Untitled (J.ean Journet, 1799-1861 ), 1985; oil and encaustic on linen; 32 x 28". From the exhibition Selections From the Semi-Permanent Collection.

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The Living Paintings, Stephen Taylor Woodrow.

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The New Museum of Contemporary Art, New York Summary of Exhibitions, September 1987-July, 1988

Edited by Gayle Kurtz

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September 11, 1987-November 8, 1987

Bruce Nauman Drawings: 1965-1986 Organized for the Basel Kunstmuseum by Dieter Koepplin,

Chief Curator of Prints and Drawings of the Basel Kunstmuseum; and Coosje van Bruggen. Coordinated for The New Museum by Marcia Tucker.

Known primarily as a sculptor and inventor of spatial installations, Bruce Nauman has also worked in video, film, photography, sound, and language. In this exhibition, all of Nauman's ideas were explored through his drawings, which are invested with a wide range of functions and are, especially for this artist, the visual equivalent to thinking. For instance, some works are provisional sketches which serve as notes for sculptures, or diagrams for films, videotapes, and performances. Others are fabrication drawings for large sculptural installations and neon pieces, often including pertinent instructions. Nauman's drawings frequently have a raw and unfinished look; corrections, erasures, dense undecipherable areas that indicate struggle-all signs of the artist's mental process-are still visible. More than 75 works on paper, some never before exhibited in the United States, were included in this retrospective.

Bruce Nauman, Myself as a Marble Fountain, 1967; ink and wash, 19 x 24".

From the exhibition Bruce Nauman Drawings: 1965-1986.

Bruce Nauman, Dead, Dead, 1981; charcoal, pastel and pencil on paper; 49¾ x 63¾".

From the exhibition Bruce Nauman Drawings: 1965-1986.

Betty Goodwin, Study for Carbon, 1987; oil stick, charcoal, pastel, wax and wash on Geofilm; 12 x 9".

From the exhibition Betty Goodwin: New Work.

On View

New Work Gallery: Betty Goodwin: New Work This traveling exhibition was organized by Yolande Racine, Curator of Contemporary Art,

Montreal Museum of Fine Arts. Presented in conjunction with the 49th Parallel Gallery. Coordinated for The New Museum by Lynn Gumpert.

Since the late 1960s, Montreal artist Betty Goodwin has held a special place within Canadian art. Unlike many of her contemporaries, who subscribed to an abstract formalist style, Goodwin chose a figurative aesthetic. Central themes for Goodwin-transparency/opacity, folding/unfolding, passage/ obstruction, human vulnerability, and the struggle for survival-were reflected in this exhibition of large-scale drawings that included part of her new "'Carbon" series.

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ERRATA

The photographs that appear

on pages 16 and 17

are transposed.

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The Navigator's Encyclopedia, Installation by Christiaan Bastiaans. Organized by Lynn Gumpert.

Dutch artist Christiaan Bastiaans referred to his installation, "The Navigator's Encyclopedia," as a "library visited by an archeologist concerned with vanished times." Like volumes in a library, the works functioned both dependently and independently. Each was constructed in a variety of media and contained a number of cross-cultural references. The encyclopedia of the title refers to branches of knowledge, like anatomy and alchemy, that underlie Bastiaans's interest in the study and structure of the human species and in how information is communicated by different cultures throughout history.

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Window on Broadway: No, No, No, No! Installation by Bruce Nauman Organized by Marcia Tucker.

Two color video monitors placed in the window played one of Nauman's most recent videos, that of a clown jumping up and down shouting, "No, No, No, No!" endlessly. Nauman's videos confront the viewer with behavior normally thought unacceptable. The clown's simple declarative statement takes on new meaning and creates tension and anxiety for the viewer.

The Navigator's Encyclopedia: Installation by Christiaan Bastiaans, September 11-November 8, 1987. Installation view.

Ana Mendieta: A Retrospective, November 20, 1987-January 24, 1988. Installation view.

November 20, 1987 - January 24, 1988

Ana Mendieta: A Retrospective Organized by Petra Barreras del Rio, Director of El Museo del Barrio,

New York, and John Perreault, Visual Arts Director of Snug Harbor Cultural Center, Staten Island. Coordinated for The New Museum

by Lynn Gumpert and Karen Fiss.

This exhibition, the first major retrospective of Ana Mendieta's work, was presented as part of the Museum's continuing commitment to exhibiting the work of artists who have not received significant recognition. Mendieta died in 1985 at the age of 36, as she was engaged in her most sophisticated and mature work. Born in Havana, Cuba, she was sent by her family to live in the United States in 1961. Studying at the University of Iowa's Multimedia and Video Art program, Mendieta developed a personal vocabulary in which her own body became the medium for performances, earth art, body art, and photo art. The emerging feminist movement also played a role in Mendieta's work.

The Museum's exhibition surveyed the growth and change in Mendieta's career and included 30 documentary color photographs of the Silueta series, in which her body was traced in the landscape; black and white photographic blowups of rock carvings located in Cuba; early drawings on leaves; floor sculptures made from sand and earth; tree trunk sculptures with the female image carved and burnt into the surface; and videotape documentation of various performance works.

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Window on Broadway: Let The Record Show ... Installation by ACT UP. Organized by William Olander.

ACT UP, or the AIDS Coalition To Unleash Power, is a group of concerned men and women who ar� de�icated to fighting the government's often uninformed and negligent response to the AIDS ep1dem1c. Let The Record Show. . . provided current information about the epidemic and depicted the crisis in historical perspective.

The Window on Broadway, November 20, 1987-January 24, 1988 Let the Record Show . .. , an installation by ACT UP (AIDS Coalition to Unleash Power).

New Work Gallery: New P aintings, by Charles Clough and Mimi Thompso:i. Organized by William Olander.

Charles Clough and Mimi Thompson are two abstract painters who have sidestepped irony and appropriation in favor of the less-traveled paths developed by Jasper Johns, Joan Snyder, Cy Twombly and others. Clough is well known for the strange hybrids of painting and photography which he developed over the last decade. Since 1985, he has painted exclusively and has developed another hybrid, a painting which is simultaneously genuine and artificial, cultural and natural, full and empty. Mimi Thompson's work is both pop and expressionistic, without exactly engaging in the rhetoric of either. In her paintings, she explores the complexities of an ambiguous vocabulary. Viewers of both these artists' works experience the simple pleasure inherent in the act of looking at paintings.

Survival Research Laboratories. On May 17, 1988, The New Museum, Creative Time and The Kitchen, with the cooperation of the New York City Department of Parks and Recreation,

presented the first New York performance of the San Francisco-based group.

WorkSpace: Social Studies: Recent Work on Video and Film. Organized by William Olander.

Andre Burke Ayoka Chenzira Sharon Greytak Todd Haynes Aron Ranen

Daniel Reeves Caroline Sheldon Rea Tajiri Testing the Limits Collective

Since the great experiments of the 1960s and early 1970s, distribution for documentary films has been limited, except for those on the entertainment level. Social Studies, a program of videotapes and films (transferred to video), was put together with the intent of redressing this situation by turning away from perceived notions of the documentary and expanding the field of inquiry. None of the works screened were "merely" documentaries, but dealt wit� social issues from a subjective and partisan point of view. Viewers of Social S�udies were.engaged by subjects as divers� as _thedisabled, child abuse, AIDS testing, the anorectic death of singer Karen Carpenter, and an h1stoncal view of human cruelty to animals.

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American Dining: A Working Woman's Moment. A site-specific art installation by Jerri Allyn. Presented at Gefens Dairy Restaurant,

November 20, 1987 - January 9, 1988. In performance at The New Museum, January 12, 1988.

Organized by William Olander.

American Dining explored American labor in the 1980s from a feminist and satirical point of view. The restaurant installation consisted of placemats created by the artist and jukeboxes equipped with Allyn's musical monologues. The placemats, devoted to famous working women, included one titled "Name That Dame: Who Are These Famous Food Women?"

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Jerri Allyn, American Dining: A Working Woman's Moment, 1987.

Feqruary 3 - April 24, 1988

ARTISTS PROJECTS Artists Projects In 1986, The New Museum, inspired by the desire to expand its boundaries both physically and conceptually beyond the realm of traditional exhibition formats, began lengthy discussions, in-house and with its Artists Advisory Board, to investigate new avenues for the presentation of contemporary art. These discussions produced a letter calling for the submission of proposals for "experimental and provocative projects ... which would utilize the Museum's space and resources in challenging ways." The letter was sent to nearly two hundred artists. This first series of Artists Projects, drawn from responses to the request for proposals, inaugurates a new and ongoing program.

The Living Paintings, Installation by Stephen Taylor Woodrow, February 3-14, 1988.

Coordinated by Marcia Tucker and Karen Fiss.

This was the first installation in the United States by the British artist Stephen Taylor Woodrow. The Living Paintings consisted of three men, entirely painted and altogether silent, hanging inside picture frames high up on the walls of the Museum's main exhibition gallery. They remained there for the duration of the Museum's public viewing hours. Part theater, part performance, and part painting, this contemporary tableau vivant played with the vague and ambiguous interrelationships of reality and illusion.

The Living Paintings, February 3-14, 1988. (left to right) Stephen Taylor Woodrow and Dale Devereux Barker.

Museum Notions, Installation by Art Parts (artist Daina Shobrys), February 3 - April 24, 1988. Coordinated by Lynn Gumpert.

Museum Notions is a store created specifically for The New Museum by Art Parts. Since 1980, Daina Shobrys (Art Parts) has created installations and special art projects in the Chicago area. At the 1985 Chicago International Art Exposition, Art Parts salespeople provided coverage for art purchases with an "Aesthetic Assurance Certificate," and "Seals of Quality Aesthetic Assurance." Museum Notions represents Art Parts's first project in New York. For the Museum's store, Art Parts designed the Culture Vulture, a symbol of the contemporary art scene's rapacious and predatory appetite. The Vulture is also a nudge at the Museum itself for its role in the promotion and validation of art as commodity. The New Museum's "new" symbol is emblazoned on items such as keychains, T-shirts, soap, jewelry, artist-signed scarves, and statues.

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Museum Notions, Installation by Art Parts, February 3-April 24, 1988. Installation view. 21

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One Plus or Minus One, Installation by May Stevens, February 19 - April 3, 1988.

Coordinated by William Olander. May Stevens began her career as a painter in the early 1950s, but as with many women artists of her generation, she "emerged" only in the mid-1970s during the women's movement. She produced a page piece, Two Women, for the first issue of Heresies magazine, published in 1977. In that piece, Stevens juxtaposed the images of Polish/German revolutionary Rosa Luxemburg (1871-1919) and of her mother, Alice Stevens (1895-1985), a woman who raised a family in the working class suburbs of Boston. In 1980 this conjunction of two lives became a now classic artist's book, Ordinary. Extraordinary. The weaving together of these two women's lives has occupied Stevens for nearly a decade. For the installation One Plus or Minus One, two enormous photomurals were placed side by side. In one, captioned "The Second International," Luxemburg is a single woman among men, attending the Congress of the Second International in Amsterdam in 1904. In the second photograph, labelled "Eden Hotel," Luxemburg is replaced by a waitress also in the company of men-the murderers of Luxemburg and her colleague Karl Liebknecht the day after the murder (January 15, 1919). The work was not only a juxtaposition of two women's lives, but also a reexamination of history from a socialist-feminist perspective.

One Plus or Minus One, installation by May Stevens, February 19-April 3, 1988.

Performers April 7:

April 8:

April 9:

Detail, photomural The Second International.

Nitelife, Three evenings of new and experimental performance, April 7-9, 1988. Coordinated by William Olander,

Laura Trippi, and Russell Ferguson. Special Museum Hours: 9-12 PM.

Jim Turner Reno Robbie McCauley with Ed Montgomery Doug Skinner with Carol Benner Ishmael Houston-Jones with Dennis Cooper

Bill Callihan Carmelita Tropicana Mary Shultz Kimati Dinizulu and his Kotoko Society Guy Varden

Nicky Paraiso Maxine Lapiduss Jeffrey Essmann Mary Hestand & Associates Foreign Legion

With the decline of the East Village art scene and the closing of almost all the clubs and discos that were often linked to galleries, few spaces are available for performances of experimental live art. By providing a temporary venue for Nitelife, The New Museum functioned as a genuine alternative. Each evening focused on a different theme and presented scheduled and unscheduled performers and events. The variety of events included puppetry, monologue, stand-up, song and dance, music, and new theater-the newest and most experimental "live art."

Jonathon Apples + Company, 1988.

On View Requiem, Video Installation by Wolfgang Staehle,

February 3 - April 3, 1988.Coordinated by Lynn Gumpert and Laura Trippi.

In Requiem, a single monitor mounted on a tripod and anchored by cable to a Die Hard automotive battery broadcast a static pattern in the shape of a cross. Brahms's Requiem filled the dimly lit gallery. By appropriating historical images and placing them as "paintings" on video display and by using soundtracks from other historical periods, Staehle's installation engaged the audience in a response to the spectacle of modernity, and to history on-and the history of-television. Staehle (born in Stuttgart, West Germany and currently living in New York City) has exhibited video works nationally and internationally since 1980.

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Requiem, Installation by Wolfgang Staehle, February 3-April 3, 1988. Installation view.

Selections from the Semi-Permanent Collection, February 3 - April 3, 1988. Organized by William Olander.

The New Museum maintains a Semi-Permanent Collection which is devoted exclusively to the art of the last twenty years. This was the first time in the Museum's history that a large portion of the collection was shown. Artists featured included Hans Haacke, John Hull, Louise Lawler, Sherrie Levine, Michael Lucero, Aimee Rankin, Rene Santos, Andres Serrano, Jan Staller, Hiroshi Sugimoto, and Jan Vercruysse.

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May 13 - July 10, 1988

Markus Raetz: In the Realm of the Possible Organized by Marcia Tucker.

This was the first solo exhibition in a United States museum for Swiss artist Markus Raetz. Since the, mid-1960s, Raetz has made a body of art which, while seemingly modest, straightforward, unpretentious, and playful, actually reveals layer after layer of complexity. Raetz's work does not adhere to any "school." It's neither abstract, representational, nor purely conceptual. He works readily in a variety of media (drawing, sculpture, photography, painting) and dimensions (from miniature to gigantic). With the exception of large outdoor sculpture projects, Raetz works alone. The work is intimate, the means simple. His pieces are made of found materials such as twigs or eucalyptus leaves, or glass, polaroids, unprepossessing black and white photographs, simple shapes cut from tin in various sizes, little pieces of carved wood or stone, clay, small mirrors and panes of glass, corrugated cardboard, or an assortment of odd linear bits of metal. Like a poem in which no word is extraneous or wasted, each element in a piece is critical. In an age of rapid global communication, Raetz's works, like poetry, require intimacy and attention.

Markus Raetz, Kontur, Ramatuelle/Bern, 1987, briar branches. Installed piece: 22½ x 22½".

From the exhibition Markus Raetz: In the Realm of the Possible.

Markus Raetz, Links/Rechts, Bern, 1981, watercolor and ink on paper. Two drawings: 8¼ x 11 ½" each, framed together.

From the exhibition Markus Raetz: In the Realm of the Possible.

Window on Broadway: Ane ... Morituri te salutant (Hail. .. those who are about to die salute you),

Installation by Maxine Hayt. Organized by Marcia Tucker and Laura Trippi.

Maxine Hayt has created a battle scene with no definite historical references but implications for many: the battles of the gladiators, the destruction of Pompeii, the fall of Rome, and perhaps "Masters of the Universe." The community of protagonists and antagonists are representatives of diverse worlds: human, cartoon, animal, and medieval. The battle has no teams, no winners or losers, and is as much about sexuality as it is about war and death. The inhabitants of this strange world are locked together in a ceaseless embrace.

The Window on Broadway, May 13-July 10, 1988. Ane ... morituri te salutant (hail. .. those who are about to die salute you).

an installation by Maxine Hayt. 25

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11th Gala Celebration April 25, 1988

The New Museum and The Puck Ballroom This evening has been graciously underwritten by

Dom Ruinart Champagne Celebration Committee

Celebration Co-Chairs Laura Skoler

Stephania McClennen

Auction Chair Curt Marcus

Dinner Dance Co-Chairs Renate Shapiro

Preview Co-Chairs Paul T. Schnell

Sheryl Rubinstein Brooke Alexander Victoria Barr Madelein Bennett James R. Borynack Lorie Brice Gregory C. Clark Rosemary Erpf Robert Freidus Valerie Furth Arthur A. Goldberg Lola Gold ring Sharon King Hoge Florence Isaacs Saundra Krasnow Harold Kurtz Nanette L. Laitman Carlo M. Lamagna Vera G. List

Burt Minkoff Henry Luce Ill Curt Marcus Matthew Marks Stephania McClennen Peter Gettinger Meyer Burt Minkoff Ellie Packer Leslie Rosenzweig Sheryl Rubinstein Maria Ruby Dorothy Sahn Paul T. Schnell Renate Shapiro Deborah Sharpe Eric Seigeltuch Laura Skoler Stefan and Linda Stux

Preview Reception Hosts Barbara Gladstone

Curt Marcus

HONORARY COMMITTEE Allan Albert Honorable Bill Green Brooke and Carolyn Alexander Mrs. Bette H. Greenblatt Robert Eddy Armstrong Hans Haacke Lucille B. Askin Elaine and Alan Hahn Josh Baer · Patricia Hamilton Madeleine and Jay Bennett Ruth and Rolf Hart Bill and Isabel Berley Paul C. Harper, Jr. and Cooie Harper Lorie and Harvey Brice Edgar Heap of Birds Diane Brown Gallery, Inc. Joseph Helman/Blum Helman Gallery Joan Brown Maren and Guenter Hensler James Lee Byars and Gwendolyn F. Dunaway Candace Hill Tommy Carraway Sharon King Hoge and James Fulton Hoge, Jr. Leo Castelli James Holl Linda Cathcart Barbara and Gedale Horowitz Jim Cohan Barbara Ingber/Ingber Gallery Gregory and Lourine Clark Florence and Harvey Isaacs Robert Colescott The Honourable Robert Johnstone and Jan Cowles Mrs. Popsy Johnstone Elaine and Werner Dannheisser Lucille and Martin E. Kantor Ellyn and Saul Dennison Paula Kassover Zoe and Joel Dictrow Michael Klein Mel Edwards James Kraft Elizabeth Enders Harold and Gayle Kurtz Rosemary and Douglas Erpf Edward and Phyllis Kwalwasser Lauren Ewing

· Barry Le Va

Gwen L. Feder Sandra Lerner Frayda and Ronald Feldman Ellen and Arthur Liman Richard Flood Robin Littlewood Wouter F. Germans Van Eck Mimi S. and Richard M. Livingston Barbara Gladstone Fleur Manning Arthur and Carol Goldberg Gracie Mansion Phyllis A. Goldman Stephania and James McClennen Allen and Lola Goldring Donald McKinney Leon Golub Mary Miss Fraunces B. and Eugene P. Gorman Meredith Monk Jay Gorney Elizabeth Murray

Mr. Edward N. Ney Esther Parada Laura Paulson Beverly B. Perry Janelle Reiring George Renert Dorothea Rockburne Emily Rosen Rachel Rosenthal Ron and Leslie Rosenzweig William and Sheryl Rubinstein Maria Ruby Mr. and Mrs. William Sarnoff Patrick and Fey Savin Paul and Joanne Schnell Herbert and Lenore Schorr Carol L. Schwartz Joyce Pomeroy Schwartz Herman and Marilyn Schwartzman Renate and Sidney Shapiro Linda R. Silverman Lorna Simpson Laura and Saul Skoler Nancy Spero Pat Steir Gary Stephan Peter R. Stern Mrs. T. Suffern Tailer Edward Thorp Gallery Barbara Toll William Wegman Al Wong Steven Taylor Woodrow Robert Younger Bette and Herman Ziegler Barbara Zucker

DONORS TO THE ELEVENTH ANNIVERSARY AUCTION The Board of Trustees and the entire staff of The New Museum of Contemporary Art extend their gratitude and thanks to the following individuals for their generosity in donating works for the Eleventh Anniversary live and silent auctions.

To the many artists in the community who have continuously supported the Museum's activities we express our deepest appreciation.

Gwen Akin and Allan Ludwig Salvatore Ala Gallery Brooke Alexander Gallery William Anastasi Jonathan Andrews Ken Aptekar Art Galaxy Julie Ault Josh Baer Gallery David Beitzel Gallery Regina Bogat Mary Boone/Michael Werner Robert Bordo Grace Borgenicht Gallery Roger Boyce Diane Brown Gallery Christine Burgin Gallery Nancy Burson James Lee Byars Cable Gallery David Cabrera Farideh Cadot Gallery John Cage Cynthia Carlson Mary Carlson Sarah Charlesworth Louisa Chase Jay Chiat Clegg & Guttmann Charles Clough Max Cole Paula Cooper Gallery Dr. and Mrs. Frederick L. Govan Elaine and Werner Dannheisser Peter Dean Jane Dickson George Dudding Cynthia Eardley T im Ebner Kate Ericson/Mel Ziegler Barbara Ess Lauren Ewing Bruno Facchetti Gallery Ronald Feldman Fine Arts Craig Fisher Walter Whitner Ford Diana Formisano

Charles Garabedian Germans Van Eck Gallery Ginzel & Jones Barbara Gladstone Gallery Phillis A. Goldman Lee Gordon Antony Gormley Jay Gorney Modern Art Dan Graham George Grant Ted Greenwald Gallery Red Grooms Hans Haacke Fariba Hajamadi Susan Hall Ruth Hart Connie Hatch Helio Galleries Hirschi & Adler Modern Gilbert Hsiao John Hull Shelley Hull Alfredo Jaar Glen Jampol Tobi Kahn Shelly Kaplan Jane Kaplowitz Dennis Kardon Deborah Kass Paula Kassover Ed Klein Michael Klein, Inc. Komar & Melamid Cheryl Laemmle Carlo Lamagna Gallery Kevin Larmon Susan Laufer Annette Lemieux Sherrie Levine Tomoko Liguori Gallery Robert Longo Lorence-Monk Gallery Michael Lucero Frank Majore Mary Malott Robert Mangold Gracie Mansion Gallery

Curt Marcus Gallery Marlborough Gallery Allan McCollum Paul McMahon Estate of Ana Mendieta Metro Pictures Andy Moses Olivier Mosset Peter Nagy Nature Morte Gallery New City Editions Manuel Pardo Philips Records Adrian Piper Postmasters Gallery Richard Prince Garnett Puett Holt Quentel Steve Reich David Robbins Lance Rutledge Monique Safford Mark Saltz David Saunders Tony Shafrazi Gallery Maura Sheehan Martin Sklar Sandy Skoglund Holly Solomon Gallery Carl Solway Gallery Sonnabend Gallery Emily Sorkin Gallery Haim Steinbach David Storey Stux Galleries, Ltd. Robin Tewes Mimi Thompson 303 Gallery Barbara Toll Gallery Tyler Turkle Althea Viafora Gallery Julie Wachtel Jeff Way John Weber, Inc. Wolff Gallery Michael Zwack Rhonda Zwillinger

List in formation

DONOR OF THE 1988 LIMITED EDITION SCULPTURE Jenny Holzer Barbara Gladstone, Publisher

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The New Museum of Contemporary Art Marcia Tucker, Director

Board of Trustees

Henry Luce 111 President

Vera G. List Vice-President

Arthur A. Goldberg Treasurer

JayChiat Gregory C. Clark Maureen Cogan Elaine Dannheisser Richard Ekstract Allen A. Goldring Paul C. Harper, Jr. Sharon K. Hoge Martin E. Kantor

Kimball Augustus, Security Richard Barr, Coordinator of Volunteers Teresa Bramlette, Curatorial Secretary Gayle Brandel, Administrator Jeanne Breitbart, Curatorial Archivist Susan Cahan, Education Coordinator Helen Carr, Special Events Coordinator Russell Ferguson, Librarian Angelika Festa, Assistant to the Librarian Karen Fiss, Curatorial Assistant Lynn Gumpert, Senior Curator Maren Hensler, ARTQUEST/New Collectors Coordinator Popsy Johnstone, ARTQUEST/New Collectors Coordinator Elon Joseph, Security Gayle Kurtz, Curatorial Research Margo Machida, Planning and DeyelopmentAssistant Clare Micuda, Assistant to the Director James Minden, Operations Manager Judith Morris, Receptionist Jill Newmark, Registrar

Staff

Nanette L. Laitman Mary McFadden Raymond J. McGuire Patrick Savin Paul T. Schnell Herman Schwartzman, Esq. Laura Skoler Marcia Tucker

Barbara Niblock, Bookkeeper William Olander, Curator Sara Palmer, Public Affairs Assistant Howard Robinson, Security Wayne Rottman, Security/Operations Aleya Saad, Development Assistant Asya Saad, Planning and Development Assistant Veronica Saddler, Receptionist Cindy Smith, Preparator/Assistant to the Registrar Susan Stein, Admissions Coordinator Virginia Strull, Director of Planning and Development Terrie Sultan, Director of Public Affairs Neville Thompson, Assistant to the Operations Manager Patricia Thornley, Assistant to the Registrar Laura Trippi, Curatorial Intern Marcia Tucker, Director Suzanna Watkins, Assistant to the Administrator Margaret Weissbach, Coordinator of Docents and Interns Alice Yang, Panel Series Coordinator

In Memoriam

Albert A. List

The Board of Directors

The New Museum of Contemporary Art, NY

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In Memoriam

Jack Boulton

The Board of Directors

The New Museum of Contemporary Art, NY

DONORS TO THE SEMI-PERMANENT COLLECTION

Masami Akiyama David Anderson R. E. Armstrong Suzanne Aron Rudolf Baranik William Bartman Madeleine Bennett Robert Blumberg Leonard Bocour Leo Castelli Gregory C. Clark Gerard Collin-Thiebaut Leslie Cooper Rebecca Cooper Clarissa Dalyrimple Elaine Dannheisser Jimmy DeSana Richard Ekstract Charles E. Falk Dennis Florio Marsha Fogel

Lucille B. Askin Madeleine and Jay Bennett Isabel and Bill Berley Ellyn and Saul Dennison Joel and Zoe Dictrow Anita Friedman Harriett Giordano Phyllis Goldman Lola and Allen Gold ring Bette Greenblatt

Edward D. Andrews Stuart B. Anthony Elizabeth Atkins Jerair Avanian Hilary Ballon Sheila Barcelle Jamie Beck-Gordon John Philip Bergan Patty Bleznak Cathy Bostron Vincent Carrino Elizabeth Daly Lynda Deppe Elyse Emmer Melissa Ellis Craig Feder Gwen Feder Alexander and Leora Frocht Jay David Gayner Philip Gilden-Archinoff Sarah Gillman Stuart M. Glass Avram Glazer Christopher Gorman Andrea Gurvitz Michael Halle Sarah M. Hayes Pamela Hut

Robert Freidus Murray J. Gart Stuart Golbey Carol and Arthur A. Goldberg Phyllis A. Goldman Jay Gorney Bette Greenblatt Patricia Hamilton Ruth Hart Paul M. Hirschland Nancy Holt Morton J. Hornick John Hull Jeff Kim Jones Harry Kahn Betty Killa Micliael Klein Harold W. Kurtz Nanette L. Laitman Barbara Landau

ART QUEST MEMBERS

Ruth and Rolf Harf Barbara and Gedale Horowitz Paula Kassover Harold and Gayle Kurtz Edward and Phyllis Kwalwasser Vera List Henry Luce Ill Fleur Manning Stephania and James McClennen

NEW COLLECTORS

Roy Levitt Vera G. List Robert Littman Joseph Lovett Henry Luce Ill Claire Moore Kenji Nakahashi Claes Oldenburg Jerry Ordover David Regan Richard Regan Stuart Regan Michelle Rosenfeld Dorothy Sahn Herbert Schorr Barbara and Eugene Schwartz Herman and Marilyn Schwartzman Martin Sklar Pat Steir Frances Torres Peter Winslow

Edna Nass Emily Rosen Leslie and Ron Rosenzweig Dorothy Sahn Lenore and Herb Schorr Carol List Schwartz Corinne Shane Renate and Sidney Shapiro Saul and Laura Skoler Jean Tailer

Beverly Ilene Katz Matthew Rosen Carole J. Kealy Lisa Roumell Lisa Keats Richard Ruben Karen Kidwell Paul and Joanne Schnell Geoffrey B. Kronik Charles and Elizabeth Schwefel Linda Lerner Ira B. Shapiro Rita Lipshutz Donald L. Shuck Robin Littlewood Thomas Spiro Laurie Livingston Segal and Gerry Segal Vanessa Smith Patricia Lowinsky Ellen Smaller Lydia Mannara Susan Souris Wendy Mark Laurie Stupell Raymond J. McGuire Lise Suino Emilie Michael Stephen Symonds Amy Miller Macie C. Sears Burton Minkoff Joshua Strychalski Henry Morgenbesser Gianluigi Tacchi Jonathan Morgan Jonathan N. Tanner Victoria Munroe Pamela A. Theodoredis Jon and Susan Nagel Wellington Tichenor Henry Nass David Tofsky Herbert Nass Rebecca Waldman Augustus Oliver Belinda Watts Maria J. Pereira Rosalyn Weinstein Jan S. Prager Ellen Weiss Nina L. Pratt Carolyn Weissbach Richard Rapaport Nancy Wender Jeffrey M. Resnick John Wilson

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THE NEW MUSEUM EXTENDS WARMEST THANKS TO THOSE MEMBERS AND CONTRIBUTORS WHO HAVE SO GENEROUSLY SUPPORTED

MUSEUM ACTIVITIES IN 1987 AND THROUGH FEBRUARY 1988:

Avnet, Inc. Chase Manhattan Bank, N. A. Jay Chiat ChiaUDay Advertising Elaine & Werner Dannheisser Richard Ekstract Eugene & Estelle Ferkauf Foundation GFI/Knoll International Foundation 1\rthur A. & Carol Goldberg Phyllis A. Goldman Allen & Lola Goldring Paul C. Harper, Jr. Barbara S. Horowitz lnstitut fur Auslandsbeziehungen Institute of Museum Services The Jerome Foundation

FOUNDERS ($5,000+)

Martin & Lucille Kantor Nanette L. Laitman Vera G. List National Endowment for the Arts Henry Luce Ill The Henry Luce Foundation Morgan Guaranty Trust Company of New York New York City Department of Cultural Affairs New York State Council on the Arts Prudential-Bache Foundation Patrick Savin Herman & Marilyn Schwartzman Time Inc. David C. Weiner & Co. Anonymous Maureen and Marshall Cogan

BENEFACTORS ($2,500+)

Alliance Capital Management Corporation Association Francaise D'Action Artistique David Bermant Foundation Chemical Bank Citibank, N.A. Community Foundation of Santa Clara County Con Edison Company of New York Laura and Saul Skoler

Goethe House, New York Golenbock and Barell Foundation, Inc. Samuel L.Highleyman Ill Sandra Kurtzig Samuel I. Newhouse Foundation Paul and Joanne Schnell Robert Wilson

PATRONS ($1,000+)

Agfa-Gevaert, Inc. Art Matters Lewis W. Bernard Chesebrough-Pond's, Inc. William N. Copley Anne S. Dayton Zoe and Joel P. Dictrow Dow Jones & Company Drexel Burnham Lambert Mr. and Mrs. Douglas Erpf Exxon Corporation Peter Goulds International Business Machines Michael Kooper Edward and Phyllis Kwalwasser L.A. Louver Gallery, Inc.Eugene and Sue Mercy, Jr.Greg and Lauraine Clark

Mr. and Mrs. Seth Abraham Bright and Associates Leo Castelli James L. Croak Lynne Darcy Rose Dreyer Henry Goldstein and Linda Brossel Greenwich Fine Arts Incorporated Holtzman/Stavros, Inc. Mr. and Mrs. M. J. Lebworth Robert Linton Herbert and Virginia Lust R.H. Macy & Co., Inc.

Mobil Foundation Netherlands-America Community Association, Inc. The New York Times Company Foundation Paine Webber Philip Morris Incorporated Mr. and Mrs. Wilbur Ross, Jr. Dorothy Sahn

(for the Arthur Sahn Memorial Fund) Herbert and Lenore Schorr Carol L. Schwartz Joseph E. Seagrams & Sons Mr. and Mrs. Clarence Short Charles Simon Sonnabend Foundation The Starr Foundation Alan N. Stillman Saul Waring

SPONSORING ($500+)

Donald Marron Edward A. McCabe McGraw-Hill Foundation, Inc. The Mnuchin Foundation Therese M. Molloy Mrs. Maurice T. Moore ·J. Robert Orton FoundationPatrician Equities CorporationRevlonWilliam and Sheryl RubinsteinDaniel ScheuerMartin Sklar and Froma EisenbergJoseph Vitanza

Robert Beard Mr. and Mrs. Norman J. Bolotow Mr. and Mrs. Harvey Brice Beatrice Coleman Mr. and Mrs. Anthony Enders Donald Feuerstein Joan Flanigan Joseph Forte Bernard Harper Friedman Mr. and Mrs. Herbert Glantz Richard Green Gallery Daryl Y. Harnisch

Mr. and Mrs. Armand Bartos Richard Bellamy David L. Belsky Bruce and Roxanne Bethany Albert Bildner Mr. and Mrs. Alexander Bing, Ill Grace Brandt Borgenicht Joan Brown Farideh Cadot Linda Cathcart Sidney Cheresh John J. Costello Virginia Cappaidge Carol K. Davidson Sid Deutsch William Dunn Joan Easton Mr. and Mrs. Arthur Fleisher Jacqueline Fowler Mr. and Mrs. Marc Friedus Mr. and Mrs. Howard Ganek

MEMBERS: ($250 +) Penine Hart David and Maxine Hayt Anne and William Hokin Henry Holtzman/Stavros Merjos Frederick Hunter Mrs. Kathy Karwat Mr. and Mrs. Miner S. Keeler Kent Fine Art, Inc. Mr. and Mrs. Sydney Lewis Mr. and Mrs. Richard Livingston Helen L. Mandelbaum Kathryn Markel Mr. and Mrs. Robert Mnuchin

MEMBERS: ($100 +) Edward J. Gerrity, Jr. Mr. and Mrs. Marvin Gerstin Mr. and Mrs. Monte W. Getler Congressman Bill Green Mr. and Mrs. Alan Hahn Charles and Jan Hinman John Hull Barbara Ingber Florence and Harvey Isaacs Mr. and Mrs. Leober Landau Mr. and Mrs. Samuel Larcombe Stephanie and Gerald Lederman Vivien Leone William D. Levine William S. Lieberman Gary J. Longtime Mr. and Mrs. Lewis Manilow Curt R. Marcus Richard Milazzo and Tricia Collins Marsy and Josef Mittlemann Laurie R. Morison Mrs. Raymond R. Nasher

Cheryl D. Morrison Ellen Jo Myers Jeffrey Neale William and Barbara Pryor Mr. and Mrs. Jeffrey Resnick Eileen L. Robert Ellen Schulz Ira Shapiro Arnold and Nancy Smaller Linda and Stefan Stux Ramon and MindyTublitz Jeffrey Weiss

Edna Nass Mr. and Mrs. Roy Neuberger Ivan Obolensky Henry C. Preston Mr. and Mrs. Jerome Pustilnik David and Katherine Ragone Ira and Barbara Sahlman Arnold Saltzman Mimi Saltzman William Sarnoff Mr. and Mrs. Jeffrey Schlein Mr. and Mrs. Eugene Schwartz Joyce Schwartz Mr. and Mrs. Charles Segal Mrs. Julius Silver Eric A. Sohn Mrs. Ileana Sonnabend Mrs. Patricia Specter Mrs. E. C. Sterling Myron S. Stout Mr. and Mrs. Gerald Sussman

AND HUNDREDS OF OTHER INDIVIDUALS AND ARTISTS WITHOUT WHOSE

SUPPORT OUR EXHIBITIONS AND PROGRAMS WOULD NOT BE POSSIBLE.

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THE NEW MUSEUM OF CONTEMPORARY ART

STATEMENT OF SUPPORT, REVENUE, EXPENSES, CAPITAL ADDITIONS AND CHANGES IN FUND BALANCES

YEAR ENDED JUNE 30, 1987 (With Comparative Total for 1986)

Support and revenue Contributions Donated servi

THE NEW MUSEUM OF CONTEMPORARY ART

BALANCE SHEET

JUNE 30, 1987 (With Comparative Total for 1986)

Unrestricted Building Plant Restricted Endowment Fund Fund Fund Funds Funds Total

ASSETS

Current assets $ 29,844 $ 29,844

100,000 100,000 $ 821,430 821,430

1,500 1,500

303,558 303,558 45,364 99,000 144,364 17,533 17,533 51,248 51,248

$ 29,227 699,119

Cash (including money market funds) Certificate of deposit Investments Grants receivable Mortgage and note receivable,

current portions Contributions receivable Accrued interest receivable Other receivables and prepaid expenses Inventory lnterfund receivables (payables)

Total current assets

(755,140) $ 26,794

(206,093) 26,794 29,227 1,619,549 1,469,477

Long-term and fixed assets 39,023 39,023 Long-term portion of note receivable

Fixed assets (net of accumulated depreciation of $597,939 in 1987 and $427,8651n 1986 3,471,455 $3,471,455

- ---

39,023 3,471,455 3,510,478 Total long-term and fixed assets

Total assets $ (167,070) $ 26,794 $ 3,471,455 $ 29,227 $1,619,549 $4,979,955

LIABILITIES AND FUND BALANCES

Current liabilities $ 51,984 $ 51,984

20,496 20,496 Accounts payable Accrued vacations payable Deferred income 97,535 $ 17,675 $ 99,000 214,210

17,675 99,000 286,690

39,023

170,015

39,023

209,038 17,675 99,000 325,713

Total current liabilities

Long-term liability - deferred income

Total liabilities

Fund balances (deficit) (Exhibit A) (376,108) $ 26,794 $ 3,471,455 11,552 � 0, 54 9 4,654,242

Total liabilities and fund balances $ (167,070) $ 26,794 $ 3,471,455 $ 29,227 $1,619,549 $4,979,955

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-they have an eye on Europe; their art is new and innovative;it's temporary not permanent; they're exper'imental

-shows contemp. art not seen in other museums-it takes risks in terms of what it shows-she is the unique supporter of the truly contemporary-it's a chance to see new work; it's smaller and more accessible-it supports the talent of younger less established artists-more contemp. work on view; one to one relationship between

artists and administration-it's new-more experimental work-supports the work of artists who are unknown-unusual exhibits; they mount the displays uniquely; a good system

of guides for groups-not as institutional or commercial-new and experimental; exhibits are well presented; the staff care

about the art they're showing and that comes across in the presentation-the curator staff is very professional-they present postmodern artists that you wouldn't see anywhere;

the catalogues are curated well-the exhibits deal with the real world not historical-it doesn't have a collection; it's a phenomenon that Marcia can do it

on her own at such a high level-no other museum starts out featuring artists as they emerge; they

don't play safe-makes me question what art is; the NMCA isn't even like a museum-not part of the mainstream-they are open to current things-it's new and has potential-lots of rare work-it's conceptual; their originality-it takes chances with artists who are not yet established-they do exploratory art-better job at displaying contemp. art-sense of scale; intimate art experience-emphasis on current art-it's philosophical basis-more daring; issue-oriented art-it's the taste of one person (Marcia)-it's a thought provoking institution

* Open ended responses from the 1987 audience survey conducted forThe New Museum by Chiat/Day inc. Advertising.

The New Museum of Contemporary Art 583 Broadway

New York, NY 10012 212/219-1355

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